钱钟书的英文书单
钱钟书作品集
钱钟书作品集
钱钟书作品集
钱钟书(1910．11．21-)字默存，号槐聚。
江苏无锡人。
早年就读于教会办的苏州桃坞中学和无锡仁中学。
1933年于清华大学外国语文系毕业后，在上海光华大学任教。
1935年与杨绦结婚，同赴英国留学。
1937年毕业于英国牛津大学，获副博士学位。
又赴法国巴黎大学进修法国文学。
1938年秋归国，先后任昆明西南联大外文系教授、湖南蓝田国立师范学院英文系主任。
1941年回家探亲时，因沦陷而羁居上海，写了长篇小说《围城》和短篇小说集《人·兽·鬼》。
《围城》已有英、法、德、俄、日、西语译本。
散文大都收入《写在人生边上》一书。
《谈艺录》是一部具有开创性的中西比较诗论。
与此同时，他在上海暨南大学、中央图书馆和清华大学执教或任职。
1953年后，在北京大学文学研究所任研究员。
所著多卷本《管锥编》，对中国著名的经史子古籍进行考释，并从中西文化和文学的比较上阐发、辨析。
现任中国社会科学院副院长。
2021年必读书单
2021年必读书单1. 《1984》-乔治·奥威尔2. 《了不起的盖茨比》- F. 斯科特·菲茨杰拉德3. 《傲慢与偏见》-简·奥斯汀4. 《简爱》-夏洛蒂·勃朗特5. 《追风筝的人》-卡勒德·胡赛尼6. 《麦田里的守望者》- J·D·塞林格7. 《百年孤独》-加夫列尔·加西亚·马尔克斯8. 《雾都孤儿》-查尔斯·狄更斯9. 《时间简史》-斯蒂芬·霍金10. 《人类简史：从动物到上帝》-尤瓦尔·赫拉利11. 《三体》-刘慈欣12. 《小王子》-安托万·德·圣-埃克苏佩里13. 《活着》-余华14. 《三国演义》-罗贯中15. 《西游记》-吴承恩16. 《红楼梦》-曹雪芹17. 《水浒传》-施耐庵18. 《呐喊》-鲁迅19. 《呼兰河传》-萧红20. 《围城》-钱钟书21. 《平凡的世界》-路遥22. 《穆斯林的葬礼》-霍达23. 《边城》-沈从文24. 《挪威的森林》-村上春树25. 《嫌疑人X 的献身》-东野圭吾26. 《放学后》-东野圭吾27. 《恶意》-东野圭吾28. 《飞鸟集》-泰戈尔29. 《杀死一只知更鸟》-哈珀·李30. 《不能承受的生命之轻》-米兰·昆德拉31. 《飘》-玛格丽特·米切尔32. 《钢铁是怎样炼成的》-尼古拉·奥斯特洛夫斯基33. 《红高粱家族》-莫言34. 《倾城之恋》-张爱玲35. 《四世同堂》-老舍36. 《茶馆》-老舍37. 《变形记》-卡夫卡38. 《堂吉诃德》-米格尔·德·塞万提斯39. 《老人与海》-海明威40. 《悲惨世界》-维克多·雨果41. 《羊脂球》-莫泊桑42. 《安娜·卡列尼娜》-列夫·托尔斯泰43. 《战争与和平》-列夫·托尔斯泰44. 《神曲》-但丁45. 《哈姆雷特》-威廉·莎士比亚46. 《麦克白》-威廉·莎士比亚47. 《罗密欧与朱丽叶》-威廉·莎士比亚48. 《呼啸山庄》-艾米莉·勃朗特49. 《理想国》-柏拉图50. 《政治学》-亚里士多德51. 《社会契约论》-让-雅克·卢梭52. 《梦的解析》-西格蒙德·弗洛伊德53. 《物种起源》-查尔斯·达尔文54. 《资本论》-卡尔·马克思55. 《经济学原理》-格里高利·曼昆56. 《自私的基因》-理查德·道金斯57. 《如何阅读一本书》-莫提默·艾德勒、查尔斯·范多伦58. 《乌合之众：群体时代的大众心理》-古斯塔夫·勒庞59. 《史蒂夫·乔布斯传》-沃尔特·艾萨克森60. 《未来简史：从智人到神人》-尤瓦尔·赫拉利61. 《人类群星闪耀时》-斯蒂芬·茨威格62. 《飞鸟集》-泰戈尔63. 《杀死一只知更鸟》-哈珀·李64. 《不能承受的生命之轻》-米兰·昆德拉65. 《飘》-玛格丽特·米切尔66. 《钢铁是怎样炼成的》-尼古拉·奥斯特洛夫斯基67. 《红高粱家族》-莫言68. 《倾城之恋》-张爱玲69. 《四世同堂》-老舍70. 《茶馆》-老舍71. 《变形记》-卡夫卡72. 《堂吉诃德》-米格尔·德·塞万提斯73. 《老人与海》-海明威74. 《悲惨世界》-维克多·雨果75. 《羊脂球》-莫泊桑76. 《安娜·卡列尼娜》-列夫·托尔斯泰77. 《战争与和平》-列夫·托尔斯泰78. 《神曲》-但丁79. 《哈姆雷特》-威廉·莎士比亚80. 《麦克白》-威廉·莎士比亚81. 《罗密欧与朱丽叶》-威廉·莎士比亚82. 《呼啸山庄》-艾米莉·勃朗特83. 《理想国》-柏拉图84. 《政治学》-亚里士多德85. 《社会契约论》-让-雅克·卢梭86. 《梦的解析》-西格蒙德·弗洛伊德87. 《物种起源》-查尔斯·达尔文88. 《资本论》-卡尔·马克思89. 《经济学原理》-格里高利·曼昆90. 《自私的基因》-理查德·道金斯91. 《如何阅读一本书》-莫提默·艾德勒、查尔斯·范多伦92. 《乌合之众：群体时代的大众心理》-古斯塔夫·勒庞93. 《史蒂夫·乔布斯传》-沃尔特·艾萨克森94. 《未来简史：从智人到神人》-尤瓦尔·赫拉利95. 《人类群星闪耀时》-斯蒂芬·茨威格96. 《飞鸟集》-泰戈尔97. 《杀死一只知更鸟》-哈珀·李98. 《不能承受的生命之轻》-米兰·昆德拉99. 《飘》-玛格丽特·米切尔100. 《钢铁是怎样炼成的》-尼古拉·奥斯特洛夫斯基。
民国时期那些狗屁倒灶的事儿(5)
民国时期那些狗屁倒灶的事儿(5)⊙不要轻信古代妓女的文采，印象里妓女个个都是张爱玲余秋雨那样出口成章。
那是文人瞎吹捧出来的，根本没那么牛逼。
请看赛金花写给山东军阀韩复渠的诗：含情不忍诉琵琶，几度低头掠鬓鸦，多谢山东韩主席，肯持重币赏残花。
⊙民国时出过“一折八扣”的特价书，也就是说打一折再八折，定价一块的实际卖八分。
卖得正火谣言就起来：这种书用的是日本纸，鬼子在纸里下了药，中国人边蘸吐沫边翻书，看完就药死。
⊙李叔同整天改名，他一辈子用的名字号200多个，纯粹有病。
你又不是通缉犯，老改名干嘛？⊙阮玲玉吃完安眠药两个小时后被发现，本来死不了，唐季珊害怕在家周边诊所治疗传出去对他影响不好，开了6个多小时的车到日本人诊所救治。
医生怕担负责任谁也不动，又换了一家医院。
到了就死了。
[!--empirenews.page--]⊙李立三乳名最开始叫“凤生”，生他那年他家铁树开花了。
他妈不同意，活生生改名叫“狗妹子”。
真有性格呀！⊙1901年李叔同在上海南洋公学特班与黄炎培、邵力子是同学。
这个班几乎都是秀才举人，根本不甩国文老师，校长没有办法只好请来蔡元培，总算镇住了。
⊙如果没有万籁鸣的《大闹天宫》，就不会有《红豚》、《千与千寻》、《哈尔的移动城堡》。
万氏兄弟是宫崎骏的超级偶像。
万籁鸣还与阿童木的作者手冢治虫和合作过，不过只是一副漫画。
⊙唐纳跟周润发长得特别像。
这小子很有趣滴，一遇到感情纠纷就自杀，但就是死不了。
次次自杀都没事。
保险公司应该研究这个案例。
⊙叶灵凤谁都不惧，不顺心就破口大骂。
最出名的是拿鲁迅的《呐喊》上厕所，不看，就是撕纸擦屁股。
这事情他写进了小说，鲁迅看到后气得吐血。
⊙钱钟书曾经给人开出40本英文书单;;全是咸书。
求钱钟书开英文黄书的是吴组缃。
⊙中华书局的出版质量绝对值得信赖，让我来告诉你原因：因为设备和技术实在无人企及，民国政府把印刷钞票的业务交付给它，一印就是20年。
⊙中国现代语言和现代音乐学大师赵元任平生最爱打飞机，一直想改都没成，五十多了还打，这是他自己说的。
杨绛钱钟书英语作文
杨绛钱钟书英语作文Qian Zhongshu and Yang Jiang are two of the most prominent figures in Chinese literature and academia. They were scholars, writers, translators, and cultural critics who made significant contributions to the understanding and promotion of Chinese culture and literature both at home and abroad.钱钟书和杨绛是中国文学和学术界最杰出的人物之一。
他们是学者、作家、翻译家和文化评论家，为促进和理解中国文化和文学在国内外的推广做出了重大贡献。
Qian Zhongshu, born in 1910, was a scholar known for his profound knowledge of Chinese literature and language. His most famous work, "Fortress Besieged," is a satirical novel that reflects his keen insight into the complexities of human nature and society. Qian Zhongshu's writing style is known for its wit, irony, and philosophical depth, which have earned him a reputation as one of the most accomplished literary figures of his time.钱钟书，生于1910年，是一位以深厚的中国文学和语言知识而闻名的学者。
钱锺书の英文作品《苏东坡的赋及其文学背景》
钱锺书の英文作品《苏东坡的赋及其文学背景》SU TUNG-PO’S LITERARY BACKGROUND AND HIS PROSE-POETRY by Qian Zhongshu(Primarily written as a foreword to “Su Tung-Po’s Prose-poems” translated into English with Notes and Commentaries by C. D. Le Gros Clark, this is published here by kind permission of Mr. Le Gros Clark. Those who are interested in textual criticism may consult Mr. Wu Shih-ch’ang’s review in Chinese which appeared in The Crescent Monthly, Vol. IV, No. 3. –Ed.)Of the Sung dynasty, it may be said, as Hazlitt said of himself, that it is nothing if not critical. The Chinese people dropped something of their usual wise passiveness during the Sung dynasty, and “pondered, searched, probed, vexed, and criticized”. This intellectual activity, however, is not to be compared with that of the Pre-Chin period, the heyday of Chinese philosophy. The men of the Sung dynasty were inquisitive rather than speculative, filled more with a sense of curiosity than with a sense of mystery. Hence, there is no sweep, no daring, no roominess or margin in their intellectualism. A prosaic and stuffy thing theirs is, on the whole. This critical spirit revealed itself in many directions, particularly in the full flourish of literary criticism and the rise of the tao-hsüeh （道学）, that mélange adultere of metaphysics, psychology, ethics and casuistry.Literary criticism in China is an unduly belated art. Apart from a handful of obiter dicta scattered here and there, Liu Hsieh’s Literary Mind （刘勰文心雕龙）and Lo Chi’s A Prose-poem on Literature （陆机文赋）are the critical writings that count up to the Sung dynasty. There is Chung Yung’s Classification of Poets (钟嵘诗品) of course. But Chung Yung is a literary genealogist rather than a critic, and his method of simply dividing poets into sheep and goats and dispensing praise or dispraise where he thought due, is the reverse of critical, let alone his fanciful attempts to trace literary parentages(1). Ssu-Kung Tu’s Characterisations of Poetry (司空图诗品) is a different matter(2). Ssu-Kung Tu seeks to convey purely with imagery the impressions registered by a sensit ive mind of twenty four different kinds of poetry: “pure, ornate, grotesque,” etc. His is perhaps the earliest piece of “impressionistic” or “creative criticism” ever written if any language, so quietly ecstatic and so autonomous and self-sufficient, as it were, in its being but it fails on that very account to become sober and proper criticism. It is not until the Sung dynasty that criticism begins to be practiced in earnest. Numerous “causeries on poetry”（诗话）are written and principles of literature are canvassed by way of commentaries on individual poets. Henceforth, causeries on poetry become established as the vehicle for Chinese criticism. One must note in passing that there do not appear professional critics with the rise of criticism. In those good old days of China, criticism is always the prerogative of artists themselves. The division of labour between critics and artists in the West is something that the old Chinese literati would scoff at. The criticism of Sung dynasty, like all Chinese criticismsbefore the “New Literature Movement” with the possible exception of Hsieh’s Literary Mind, is apt to fasten upon particulars and be given too much to the study of best words in best places. But it is symptomatic of the critical spirit, and there is an end of it.The Chinese common reader often regards the men of the Sung dynasty as prigs. Their high seriousness and intellectual and moral squeamishness are at once irritating and amusing to the ordinary easy-going Chinese temperament. There is something paralyzing and devitalizingin their wire-drawn casuistry which induces hostile critics to attribute the collapse of the Sung dynasty to its philosophers. There is also a disingenuousness in their attempts at what may be called for want of a better name, philosophical masquerade: to dress up Taoism of Buddhism as orthodox Confucianism. One need but look into Sketches in a Villa（阅微草堂笔记）and Causeries on Poetry in a Garden（随园诗话）to see what a good laugh these two coxcombs of letters, Chi Yuen （纪昀）and Yuan Mei （袁枚）have had at the expense of the Sung philosophers and critics respectively. Nevertheless ofe is compelled to admit that the Sung philosophers are unequalled in the study of mental chemistry. Never has human nature been subject to a more rigorous scrutiny before or since in the history of Chinese thought. For what strikes one most in the tao-hsüeh is the emphasis on self-knowledge. This constant preying upon itself of the mind is quite in the spirit of the age. The Sung philosophers are morbidly introspective, always feeling their moral pulses and floundering in their own streams of consciousness. To them, their mind verily “ a kingdom is”. They analyse and pulverize huma n nature. But for that moral bias which Nietzsche thinks to be also the bane of German philosophy, their vivisection of human soul would have contributed a good deal to what Santayna calls literary psychology.The poetry of the sung dynasty is also a case in point. It is a critical commonplace that the Sung poetry furnishes a striking contract to the T’ang poetry. Chinese poetry, hitherto ethereal and delicate, seems in the Sung dynasty to take on flesh and becomes a solid, full-blooded thing. It is more weighted with the burden of thought. Of course, it still looks light and slight enough by the side of Western poetry. But the lightness of the Sung poetry is that of an aeroplane describing graceful curves, and no longer that of a moth fluttering in the mellow twilight. In the Sung poetry one finds very little of that suggestiveness, that charm of a beautiful thing imperfectly beheld, which foreigners think characteristic of Chinese poetry in general. Instead, one meets with a great deal of naked th inking and outright speaking. It may be called “sentimental” in contradistinction to the T’ang poetry which is on the whole “naïve”, to adopt Schiller’s useful antithesis. The Sung poets, however, make up for their loss in lisping naivete and lyric glow by a finesse in feeling and observation. In their descriptive poetry, they have the knack of taking the thing to be described sur le vif: witness Lo Yu (陆游) and Yang Wan-li （杨万里）. They have also a better perception of the nuances of emotion than the T’ang poets, as can be seen particularly in their Ts’u （词）, a species of song for which the Sung dynasty is justly famous(3). Small wonder that they are deliberate artists, considering the fact that they all have been critics in the off hours of their inspiration. The most annoying thing about them is perhaps their erudition and allusiveness which makes the enjoyment of them to a large extent the luxury of the initiated even among the Chinese.The interest of Su Tung-po for us lies in the fact that he does not share the spirit of his age. He seems to be born out of his due time and is nonetheless an anachronism for being himself unaware of it. To begin with, he is not critical in the sense that his contemporaries are critical. In the excellent of Su’s philosophy of art, Mr. C. D. Le Gros Clark has shown that Su goes to the root of the matter he turns from the work of the art to the mind of the artist: A poet, according to Su should “merge himself” with reality, and not content himself with the mere polishing of literary surfaces(4). Compared to this conception of the ontological affinity between the artist and Nature, the most meticulous studies in diction and technique of Su’s contemporaries dwindle into mere fussiness of the near-sighted over details. Again, Su has a rooted antipathy against the spiritual pedantry of tao-hsüeh that “unseasonable ostentation” of conscience and moral sense. He speaks disparagingly of the high talk about human nature and reason, and the inefficiency of those whomodel themselves upon Confucius and Mencius(5). He is also opposed to Cheng Yi (程颐), the leader the tao-hsüeh party in politics with a virulence almost incompatible with his otherwise genial and tolerant character(6). He is probably still in purgatory for these offences. ChüHsi (朱熹) has condemned him several times in his writings(7) ——and, in a way, to be dispraised of ChüHis is no small praise! Finally, as poet, he is comparatively the most “naïve”among his “sentimental” contemporaries. Though on “native wood notes wild”, his poetry smells more of the perfume of books, as the Chinese phrase goes, than of the lamp oil. His stylistic feats seem rather lucky accidents than the results of sweating toil. He is much more spontaneous and simple in the mode of feeling than (say) Huang T’ing-chien (黄庭坚), who and Su are the twin giants in the Sung poetry. Ling Ai-hsüan （林爱轩）has put the contrast between Su and Huang in a nutshell comparable to Johnson’s epigr am on the difference between Dryden and Pope. “Su’s poetry is manly and walks in big strides w hile Huang’s is woman-like and walks in mincing steps”(8). Has not Su himself also said that simplicity and primitiveness should be the criteria of good art(9)?Su’s strains are as profuse as his art is unpremeditated. He throws out his good thin gs to the winds with the prodigality and careless opulence of Nature. Here’s God’s plenty indeed! He says of his own style: “My style is like a spring of inexhaustible water which bubbles and over-flows where it lists, no matter where. Running its course through the plains, it may glide along at the speed of a thousand li a day. When it threads its way through cliffs and mountains, one never knows beforehand what size it would assume to conform with these obstacles —— It flows where it must flow and stops w here it must stop”(10). Elsewhere he repeats almost verbatim what he says here with the additional metaphor that our style should be like the floating cloud (11). It is significant that this simile of water with its association of fluidity and spontaneity recurs with slight variations in all criticisms of Su. To quote a few examples from his contemporaries will suffice: his brother Tsu-yu (子由) likens his style to a mountain stream young after rain(12); Huang Ting-chien, to the sea, tractless and boundless into which all rivers empty(13); Li Chi-ch’ing (李耆卿), to an impetuous flood（14）; HsüKai （许顗）to a big river(15). Thus the abiding impression of Su’s art is one of “spontaneous overflow”. Ch’ien Ch’ien-i （钱谦益）varies the metaphor by comparing Su’s style to quicksilver and draws the conclusion that the Taoist and Buddhist Naturalism must have been the formative influence in Su’s life and art(16) ——a conclusion Mr Le Gros Clark arrives at independently four centuries later.It is strange that this Naturalism which exercises a liberating influence upon Su should also form an important element in the harrowing, cut-and-dry Sung philosophy or t’ao-hsüeh. One is tempted to think that where the Sung philosophers are only naturalistic in “creed”, Su is natur alistic in “character”, Su is a spirit apart indeed!Famed in all great arts, Su is supreme in prose-poetry or Fu （赋）(17). In other species of writing, he only develops along the lines laid down by his immediate predecessors; but his prose-poetry is one of those surprises in the history of literature. Here is an art rediscovered that has been lost for several centuries. The whole T’ang dynasty is a blank as far as prose-poetry is concerned (18). The famous prose-poems by Han Yu （韩愈）and Liu Tsung-yuan （柳宗元）are all stiff-jointed imitative and second-rate. Ou-yang Hsiu （欧阳修）first shows the way by his magnificent Autumn Dirge (19), and Su does the rest. In Su’s hands,the Fu becomes a new thing he brings ease into what has hitherto been stately; he changes the measured, even-paced tread suggestive of the military drill into a swinging gait, even now and then a gallop; and he dispenses altogether that elaborate pageantry which old writers of fu are so fond of unrolling before thereader (20). He is by far the greatest fu-writer since YüSin （庾信）. While YüSin shows how supple he can be in spite of the cramping antithetical style of the Fu, Su succeeds in softening and thawing this rigid style, smoothing over its angularity and making the sharp points of the riming antitheses melt into one ano ther. T’ang Ts u-his （唐子西）does not exaggerate when he says that in Fu Su “beats all the ancients”(21). The fag-end of a foreword is not the place for a detailed discussion of the literary qualities of Su’s Fu’s. Su’usual freakishness, buoyancy, humour, abundance of metaphor are all there. But critics, while noting all these, have overlooked that which distinguishes his Fu’s from his other writings ——the difference in tempo. Su’s normal style is “eminently rapid”, as Arnold says of Homer, in his prose-poems, however, he often slackens down almost to the point of languidness as if he were caressing every word he speake. Take for instance the section in Red Cliff Part I beginning with Su’s question “Why is it so?” it moves with the deliberate slowness and ease of a slow-motion picture. What is said above does not apply, of course, to such sorry stuff as Modern Music in the Yen-ho Palace, On the Restoration of the Examination System, etc., which Mr Le Gros Clark has also translated for the sake of having Su’s p rose-poems complete in English. They are written in the style empesé, being rhetorical exercises borrowed from “ambulant political experts”, as Mr Waley points out.There is, therefore, no better proof of Mr Le Gros Clark’s deep knowledge of Chin ese literature than his choice of Su’s Fu’s for translation. Throughout the whole translation he shows the scruples of a true scholar and the imaginative sympathy possible only to a genuine lover of Su. His notes and commentaries are particularly valuable, and so much more copious and learned than Lang Yi (郎晔)s that even Chinese students will profit by them in reading Su’s prose-poems in the original. If the English reader still can not exchange smiles and salutes with Su across the great gulf of time so familiarly as the Chinese does, it is perhaps due to a difficulty inherent in the very nature of translation. It is certainly no fault of Su’s accomplished translator.(1) See 叶梦得：石林诗话。
英语学习英语专业学生课外阅读参考书目推荐
英语专业学生课外阅读参考书目推荐I.基础英语类1 英语短文阅读菁华张宜马鸿大连理工大学出版社18.002 英汉介词/副词搭配词典钱建立刘立群大连理工大学出版社26.003 现代英语佳作赏析（共四册）不同的作者西安交通大学出版社45.004 中式英语之鉴JOAN PINKHAM 外语教学与研究出版社22.905 实用英语表达技巧方亚中武汉大学出版社17.006 全球热点话题英语选读木村哲也外文出版社14.007 实用分类英语惯用法刘学明湖南教育出版社15.208 英语听说诵读实用文选365篇周淑杰天津大学出版社20.00II. 翻译类书名作者出版社价格（RMB)1 汉英词语翻译探微杨全红汉语大词典出版社12.002 英汉汉英段落翻译与实践蔡基刚复旦大学出版社15.003 中级英语笔译模拟试题精解齐乃政中国对外翻译出版公司22.004 汉译英口译教程吴冰外语教学与研究出版社19.905 实用英汉翻译教程申雨平戴宁外语教学与研究出版社13.906 英美文化与英汉翻译汪福祥伏力外文出版社11.007 汉译英实用技能训练孙海晨外文出版社16.808 高级翻译评析王大伟孙艳上海交通大学出版社14.509 同声口译金话筒侯国金大连理工大学出版社12.0010 英汉口译实用教程宋天锡国防工业出版社26.0011 英汉翻译技巧示例毛荣贵范武邱上海交通大学出版社16.5012 实用英语口译（英汉）新编崔永禄等南开大学出版社10.0013 汉英时文翻译贾文波中国对外翻译出版公司11.0014 现代汉英翻译技巧王大伟世界图书出版公司21.6015 汉英语篇翻译强化训练居祖纯清华大学出版社14.0016 英语口译教程吴守谦哈尔滨工程大学出版社17.0017 按实例学英语刘慎军等北京工业大学出版社11.0018 汉英口译入门李长栓外语教学与研究出版社17.9019 中国时尚热点新词速译朱诗向对外经济贸易大学出版社20.0020 英汉翻译综合教程王宏印辽宁师范大学出版社19.0021 实用科技英语翻译讲评范武邱外文出版社13.0022 实用口译手册钟述孔中国对外翻译出版公司12.0023 英汉翻译基础古今明上海外语教育出版社16.5024 教你如何掌握汉译英技巧陈文伯世界知识出版社17.0025 英汉翻译手册惆西董乐山等商务印书馆国际有限公司18.0026 英汉同声传译张维为中国对外翻译出版公司12.0027 高级口译教程梅德明上海外语教育出版社26.3028 高级翻译教程孙万彪王恩铭上海外语教育出版社21.0029 常用英语习语翻译与应用李军韩晓玲青岛海洋大学出版社32.0030 研究生英语翻译陶友兰查国生复旦大学出版社28.0031 高级汉英/英汉口译教程（上下册）王桂珍华南理工大学出版社50.0032 实用英语口译教程冯建忠译林出版社39.50III. 翻译词典类1 新汉英分类口译词典世界图书出版公司28.002 外事工作人员英语常用分类词汇(绝版）北京出版社1.103 汉英外事工作常用词汇外文出版社48.004 汉英分类翻译词典大连理工大学出版社58.00IV. British LiteratureAuthor's Name Names of Works Chinese Name of WorksKingsley Amis Lucky Jim 《幸运的吉姆》Jane Austen Pride and Prejudice 《傲慢与偏见》Charlotte Bronte Jane Eyre 《简•爱》Emily Bronte Wuthering Heights 《呼啸山庄》Samuel Butler The Way of All Flesh 《如此人生》Lewis Carroll Alice's Adventures in Wonderland 《爱丽斯漫游奇境记》Joseph Conrad Heart of Darkness, Lord Jim 《黑暗的心》、《吉姆老爷》Daniel Defoe Robinson Crusoe 《鲁滨逊漂流记》Charles Dickens David Copperfield 《大卫•科波菲尔德》Daphne Du Maurier Rebecca 《蝴蝶梦》E. M. Forster A Passage to India《印度之行》John Fowles The French Lieutenant's Woman 《法国中尉的女人》John Galsworthy The Man of Property 《有产业的人》William Golding Lord of the Flies 《蝇王》Thomas Hardy Tess of the D'Urbervilles 《苔丝》James Joyce A Portrait of the Artist as a Young Man 《一个青年艺术家的画像》D. H. Lawrence Sons and Lovers 《儿子与情人》George Orwell Nineteen Eighty-four 《1984》Salman Rushdie Midnight Children 《午夜的孩子》Sir Walter Scott Ivanhoe 《艾凡赫》Robert Louis Stevenson Treasure Island 《金银岛》Johnathan Swift Gulliver's Travels 《格列佛游记》William M. Thackeray Vanity Fair 《名利场》H. G. Wells The Invisible Man 《隐形人》Virginia Woolf Mrs. Dalloway, To the Lighthouse 《达罗卫夫人》、《到灯塔去》William Shakespeare Hamlet 《哈姆雷特》V. American LiteratureBenjamin Franklin The autobiography 《自传》Sherwood Anderson winesburg, Ohio 《小镇畸人》Kate Chopin The Awakening 《觉醒》Stephen Crane The Red Badge of Courage 《红色英勇勋章》Theodore Dreiser Sister Carrie 《嘉丽妹妹》Ralph Ellison Invisible Man 《看不见的人》William Faulkner The Sound and the Fury 《喧哗与骚动》F. Scott Fitzgerald The Great Gatsby 《伟大的盖茨比》Nathaniel Hawthorne The Scarlet Letter 《红字》Joseph Heller Catch-22 《第22条军规》Ernest Hemingway The Old Man and the Sea 《老人与海》、《永别了，武器》Henry James Daisy Miller 《黛西•米勒》Jack London The Call of the Wild; Martin Eden 《野性的呼唤》、《马丁•伊登》Norman Mailer The Naked and the Dead 《裸者与死者》Margaret Mitchell Gone with the Wind 《飘》Toni Morrison The Bluest Eye 《最蓝的眼睛》Vladimir Nabokov Lolita 《洛丽塔》J. D. Salinger The Catcher in the Rye《麦田里的守望者》John Steinbeck The Grapes of Wrath 《愤怒的葡萄》Harriet Beecher Stowe Uncle Tom's Cabin 《汤姆叔叔的小屋》Mark Twain The Adventures of Huckleberry Finn 《哈克贝利历险记》The Adventures of Tom Sawyer 《汤姆•索耶历险记》Alice Walker The Color Purple 《紫颜色》Thomas Wolfe Look Homeward, Angel 《天使望故乡》Herman Wouk The Winds of War 《战争风云》Richard Wright Native Son 《私生子》VI. Chinese CultureYung Ming My Life in China and America 我在中国和美国的生活—容闳回忆录Tcheng Ki Tong Chiang monlin Tides from the West 陈季同--《望海潮》The Chinese Painted by Themselves 陈季同--《中国人自画像》Ku Hung Ming The Spirit of the Chinese People 辜鸿铭--《中国人的精神》Fei Hsiao Tung Peasant Life in China 费孝通--《中国农民的生活》Lin Yu Tang My Country and My People 林语堂--《吾国与吾民》The Art of Life 《生活的艺术》Patrick White Voss The Tree of Man 《人树》（澳大利亚）VII. Others序号书名作者及出品年代1 《希腊的神话和传说》（德）斯威布著，楚图南译，人民文学出版社1977年版2 《俄狄浦斯王》（《索福克勒斯悲剧二种》）罗念生译，人民文学出版社1961年版3 《哈姆莱特》（《莎士比亚悲剧四》）卞之琳译，人民出版社1988年版4 《伪君子》莫里哀著，李健吾译，上海译文出版社1980年版5 《浮士德》歌德著，董问樵译，复旦大学出版社1982年版6 《悲惨世界》（法）雨果著，李丹、方于译，人民文学出版社1978-1983年版7 《红与黑》（法）司汤达著，郝运译，上海译文出版社1986年版8 《高老头》（法）巴尔扎克著，傅雷译，人民文学出版社1954年版9 《中国文学史》章培恒，骆玉明复旦大学出版社199710 《中国当代文学史》洪子诚北京大学出版社199911 《中国当代文学史教程》陈思和复旦大学出版社199912 《安娜•卡列尼娜》(俄)托尔斯泰著，周扬、谢索台译，人民文学出版社1978年版13 《百年孤独》（哥伦比亚）加西亚•马尔克斯著，黄锦炎等译，上海译文出版社，1984年版14 《等待戈多》（法）萨缪埃尔•贝克特著，收《荒诞派戏剧选》外国文学出版社1998年版15 《一千零一夜》（阿拉伯）纳训译，人民文学出版社1957年版16 《外国文学作品选》（两卷本）郑克鲁编，复旦大学出版17 《红楼梦》曹雪芹著，人民文学出版社1982年版18 《西游记》吴承恩著，人民文学出版社1955年版19 《水浒传》施耐庵著，人民文学出版社1975年版20 《三国演义》罗贯中著，人民文学出版社1957年版21 《诗经选》余冠英选注，人民文学出版社1956年版22 《楚辞选》马茂元选注，人民文学出版社1980年版23 《论语译注》杨伯峻译注，中华书局1980年版24 《孟子译注》杨伯峻译注，中华书局1960年版25 《庄子今注今译》陈鼓应译注，中华书局1983年版26 《乐府诗选》余冠英选，人民文学出版社1959年版27 《史记选》王伯祥选，人民文学出版社1957年版28 《陶渊明集》逮钦立校注，中华书局1979年版29 《李白诗选》复旦大学中文系古典文学教研组选注，人民文学出版社1977年版30 《杜甫诗选》萧涤非选注，人民文学出版社1985年版31 《李商隐选集》周振甫选注，上海古籍出版社1986年版32 《唐宋八家文选》牛宝彤选，甘肃人民出版社1986年版33 《唐人小说》汪辟疆校录，上海古籍出版社1978年版34 《唐诗选》中国社会科学院文学所编，人民文学出版社1978年版35 《唐宋词选》中国社科院文学所编，人民文学出版社1982年版36 《宋诗选注》钱钟书选注，人民文学出版社1989年版37 《苏轼选集》王水照选注，上海古籍出版社1984年版38 《长生殿》洪昇著，人民文学出版社1983年版39 《桃花扇》孔尚任著，人民文学出版社1958年版40 《老残游记》刘鹗著，人民文学出版社1959年版41 《鲁迅小说集》人民文学出版社1979年版42 《野草》鲁迅著，人民文学出版社1979年版43 《女神》郭沫若著，人民文学出版社1978年重印版44 《郁达夫小说集》浙江人民出版社1982年版45 《新月诗选》陈梦家编，上海书店复印1985年46 《子夜》茅盾著，人民文学出版社1994年版47 《家》巴金著，人民文学出版社1979年版48 《沈从文小说选集》人民文学出版社1982年版49 《骆驼祥子》老舍著，人民文学出版社1999年版50 《曹禺选集》曹禺著，人民文学出版社1978年版51 《艾青诗选》艾青著，人民文学出版社1988年版52 《围城》钱钟书著，人民文学出版社1980年版53 《语言问题》赵元任著，商务印书馆，1980年版54 《语言与文化》罗常培著，语文出版社，1989年版55 《汉语语法分析问题》吕叔湘著，商务印书馆，1979年版56 《修辞学发凡》陈望道著，上海教育出版社，1979年版57 《普通语言学教程》（瑞士）索绪尔著，高名凯译，岑麒祥、叶蜚声校注，商务印书馆，1982年版58 《语言论》高名凯著，商务印书馆，1995年版59 《西方语言学名著选读》胡明扬主编，中国人民大学出版社，1988年版60 《应用语言学》刘涌泉、乔毅编者，上海外语教育出版社，1991年版61 《20世纪西方美学名著选》蒋孔阳主编，复旦大学出版社1987年版62 《西方美学史》朱光潜著，人民文学出版社1979年版63 《文学理论》（美）韦勒克、沃伦著，刘象愚等译，三联书店1984年版64 《比较文学与文学理论》（美）韦斯坦因著，刘象愚译，辽宁人民出版社1987年版65 《走遍美国》任晓晋、邹为诚改编，湖北教育出版社1999年版66 《心理语言学》桂诗春著，上海外语教育出版社，1998年版67 《现代英语词汇学》陆国强著，上海外语教育出版社，1998年版68 《英语语法大全》张道真著，外语教学与研究出版社，1998年版69 《英语语音学引论》周考成著，四川大学出版社，1989年版70 《英译中国现代散文选》张培基著，上海外语教育出版社，1998年版71 《现代汉英翻译技巧》王大伟著，世界图书出版社，1999年版72 《英汉介词/副词搭配词典》钱建立、刘立群著，大连理工大学出版社，1998年版73 《英语听说诵读实用文选365篇》周淑杰著，天津大学出版社，1999年版74 《英语名篇佳作100篇背诵手册》华江编译，学苑出版社，2001年版75 《英美文化基础教程》朱永涛著，外语教学与研究出版社，1991年版76 《英汉语言文化对比研究》李瑞华著，上海外语教育出版社，2002年版77 《语篇分析概要》黄国文著，湖南教育出版社，1998年版78 《英语说文解字》蒋争著，中国国际广播出版社，2004年版79 《语用学概要》何兆熊，上海外国语出版社，1987年版80 《西方语言学流派》刘润清，外语教学与研究出版社，1999年版81 《英语国家概况》肖华峰，江西科学技术出版社，1994年版82 《现代英国文学简介》Booz.E, 上海教育出版社，1987年版83 《美国文学简史》常耀信，南开大学出版社，1985年版84 《实用英语写作》胡文仲，外语教学与研究出版社，1997年版85 《英语论文协作指南》何想明，首都师范大学出版社，2000年版86 《译学辞典》方梦之，上海外语教育出版社，2002年版87 《文化与交际》胡文仲，外语教学与研究出版社，1994年版88 《现代外教学论》王克非，伤害教育出版社，2000年版89 《外贸英语实务》曹菱，外语教学与研究出版社，2002年版90 《商务英语选读》马丽，上海外语教育出版。
围城钱钟书 语录 英文
围城钱钟书语录英文摘要：一、钱钟书的《围城》简介二、英文版《围城》的语录摘要三、英文版《围城》语录的启示与意义正文：钱钟书的《围城》是一部描绘中国知识分子生活和婚姻状况的经典小说。
自1947 年出版以来，一直受到广大读者的喜爱。
该书以讽刺幽默的笔触，展示了主人公方鸿渐在婚姻和职业生涯中的种种遭遇，反映了当时社会的众生相。
英文版《围城》的语录则为我们提供了一个了解中国文化的窗口，让我们能够从中品味中西文化的差异和共通之处。
英文版《围城》的语录摘要如下：1."The more you have, the more you want.The less you have, the less you care."（拥有的越多，越想得到；失去的越多，越不珍惜。
）2."Marriage is a great institution, but I"m not ready for it."（婚姻是个伟大的制度，但我还没准备好。
）3."It"s not easy to be a good husband, but it"s even harder to be a good wife."（做一个好丈夫不容易，但做一个好妻子更难。
）4."In the eyes of the world, we are the smartest, the most capable, and the most promising generation.But in our hearts, we feel like failures."（在世人眼中，我们是智慧、能力和潜力的一代。
但在我们心中，我们觉得自己是个失败者。
）这些英文版的《围城》语录，既展示了钱钟书独特的讽刺幽默风格，也让我们反思了现代社会中的婚姻观、价值观以及人生观。
从这些语录中，我们可以看到人们在面对婚姻、事业、家庭等方面的困惑和无奈，同时也揭示了人性的复杂和多变。
钱钟书英文简介
钱钟书英文简介钱钟书简介Qian Zhongshu (1910 - 1998), Jiangsu Wuxi people, formerly known as Yang Xian, word Zhe Liang, later renamed Zhong Shu, word memory, the number of Huai, together with the pen name in the book Jun, Chinese modern writers, literary researchers.In 1929, admitted to Tsinghua University Department of foreign languages. In 1932, before the ancient moon in Tsinghua University, Yang Jiang. In 1937, he was a bachelors degree from the University of Oxford at Exeter, with Chinese in the Seventeenth Century British Literature. In 1941, the completion of talk, written on the edge of life writing. In 1947, the novel Besieged City was published by Shanghai Chenguang Publishing Company. In 1958 the creation of Song poem election, included in the Chinese classical literature reading books. In March 1972, sixty-year-old Qian Zhongshu began writing tube cone. In 1976, by Qian Zhongshu involved in the translation of the Mao Zedong poetry English translation. In 1982, the creation of tube cone compiled by published.December 19, 1998 at 7:38 am, Mr. Qian Zhongshu died in Beijing due to illness, at the age of 88 years old.钱钟书人物生平October 20, 1910 (Gregorian calendar November 21), Qian Zhongshu was born in Wuxi, Jiangsu, an education family, uncle Qian Jiucheng, father Qian Ji Bo (child spring), uncle Qian Jihou (Qian Sunqing).In 1925, Qian Zhongshu fifteen years old home to return to the summer vacation, is that the ancient classics compilation parallel body text eighteen poems and other selected, from the beginning of the system to read, is the beginning of his life.In 1929, admitted to Tsinghua University Department of foreign languages. Into the school soon on the famous campus, not only becauseof his math only test 15 points, more important is his Mandarin, the English level is high enough to allow students to worship the point, which is the English full score, in 1929 by Tsinghua University Department of Foreign Languages Admission.In 1932, before the ancient moon in Tsinghua University, Yang Jiang.In 1933, with Yang Jiang engaged. Tsinghua University, after graduating from foreign language, in Shanghai Guanghua University (now East China Normal University) to teach.In 1935, with the first results (87.95 points, for the previous China and the United States and China and Britain, the highest average points) to obtain the British Boxer indemnity students, went to the British University of Oxford Aixedite College of English study, and Yang Jiang with the ship EnglishIn 1937, he was a bachelors degree from the University of Oxford at Exeter, with Chinese in the Seventeenth Century British Literature. Followed by his wife Yang Jiang went to the University of Paris to study. Daughter Qian Yuan was born.In the autumn of 1938, with Yang Jiang by the French ship to return home. Tsinghua University was hired as a professor, the following year to the National Lantian Normal College Ren Ying Department of the Department, and began the talk written.In Xiangxi two years. The first part of the talk is about half of the first draft of the talk. Complete the Besieged City layout, the idea of a book in the king of poetry a book. There are papers Chinese poetry and Chinese painting. This article later income Kai-ming bookstore twentieth anniversary commemorative collection old four and seven-set.In 1941, from Guangxi by boat to Shanghai, Pearl Harbor incident broke out, trapped in Shanghai, taught at Aurora womens liberal arts school, during which completed the talk, written on the edge of life writing. Proseessays written on the edge of life by the open bookstore published, is enlightened literature one. Writing siege. At that time, the experience and emotions that plundered in the occupied areas of Shanghai had an important influence on the determination of the title and title of the siege.In 1945, after the end of the War of Resistance Against Japan, he served as Professor of Foreign Languages Department of Shanghai Jinan University and edited by the Central Library of Nanjing. In the next three years, his short story human beast, novel Besieged City, poem comment talk recorded in succession, in the academic community caused great repercussions.In 1947, the novel Besieged City was published by Shanghai Chenguang Publishing Company.In 1949, returned to Tsinghua to teach.From 1949 to 1953, he was appointed professor of foreign language department of Tsinghua University and was responsible for foreign language research institute. 1953 Department of adjustment, Tsinghua University to engineering, liberal arts part of the merger into Peking University. Qian Zhongshu get rid of educational affairs and work in the Institute of Literature.1955 - 1957, in Zheng Zhenduo, He Qifang, Wang Boxiang and others with the support of the poor two years to complete the Song poetry election, selected the Song Dynasty 81 poets of 297 works.In 1957 due to the father of the disease to the pro-Hubei province, went to the road in the five quatrains, sent a feeling of the situation at that time. This year his father died of money.In 1958, Song poems by the Peoples Literature Publishing House, included in the Chinese classical literature reading books.The Establishment of the English Version of Mao Zedong s Poems in theLate 1950s. Yuan Shui beat the head of the team, Qiao Guanhua, Qian Zhongshu, Ye Junjian any team members. The groups work to the Cultural Revolution broke out temporarily.1966 Cultural Revolution outbreak. Qian Zhongshu, Yang Jiang were uncovered as bourgeois academic authority , withstood the impact. Some people write the poster framed Qian Zhongshu contemptuous leader works, fortunately Qian Zhongshu as advance team To Luoshan County, Henan Province, five seven dry school , once served as a letter to send and receive work.In November 1969, Qian Zhongshu as advance team to Luoshan County, Henan Province, five seven cadres. Soon, five seven dry school moved to the Huaihe River on the edge of Henan County Dongyue. July 1970, Yang Jiang also came to the school. In the five seven dry school, Qian Zhongshu once served as a letter to send and receive work. In June 1970, the son-in-law Wang Deyi was forced to commit suicide.In March 1972, sixty-year-old Qian Zhongshu returned to Beijing, began writing tube cone.In 1975, overseas misrepresentation of Qian Zhongshus death, in Hong Kong, Taiwan, Japan and other places caused a burst of mourning activities. This error was clarified before and after 1977. Tube cone first draft completed, and then gradually modified.In 1976, by Qian Zhongshu involved in the translation of the Mao Zedong poetry English translation. Poem old to to live on the feelings of the situation.April 1979 to May, sixty-nine years old Qian Zhongshu attended the Chinese Academy of Social Sciences delegation to visit the United States. Visited the Columbia University, the University of California at Berkeley, and so on. Tube cone 1-4 volumes were published by Zhonghua Book Company. Ancient Four published by the Shanghai Ancient Books Publishing House,this book received Chinese poetry and Chinese painting read Laao hole Synaesthesia Lin Shu translation and other four articles. Song poetry election reprint.In November 1980, went to Japan to visit. In Waseda University for poetry can complain speech, Besieged City reprint.In 1982, the creation of tube cone compiled by published.In 1983, with the vice president of the Chinese Academy of Social Sciences hosted the Sino-US comparative literature bilateral discussion, and made an opening speech. Human beast and written on the edge of life was included in the Shanghai anti-Japanese literature series.In 1984, Qian Zhongshus is also set by the Hong Kong wide-angle optical publishing house.In 1985, seven-set by the Shanghai Ancient Books Publishing House. This book includes the old four and is also set the top half of the three articles, a total of seven articles.In 1989, Qian Zhongshu theory anthology by the stretch compiled by the Guangdong Huacheng Publishing House. This book contains Qian Zhongshu new manuscript about 20 million words of content.In December 1990, the TV series Besieged City was broadcast on CCTV, which was widely praised.In 1991, the countrys 18 television stations Chinese contemporary cultural celebrities, Qian Zhongshu for the first batch of 36 people, but he declined to shoot.December 19, 1998 at 7:38 am, Mr. Qian Zhongshu died in Beijing due to illness, at the age of 88 years old.。
钱钟书简介、主要作品与翻译思想
•
翻 明 清佛译末朝经史清末翻上初年译曾的的有西西三学学个翻翻重译译要阶段，促毕文其达使生里是、从申在翻雅事述《译，西了天理这方他演论标社在论与志会翻》着实科译序信践学中中达得翻遵提雅到译循出翻的的很了译严原大译理复则事发论在，三展在几尤难：历篇:经信序、
青
千年的翻译实践与理论探索之上，汲取与创
衣
新后形成雏形。
• 支谦《法句经序》: “仆初嫌其为词不雅。 维祗难曰: `佛 言依其义不用饰 ,取其法不以严 ,其传经者 ,令易晓勿失 厥义 ,… …。’(“雅”源此。)座中咸曰: 老氏称: ‘美言不 信 ,信言不美’ ; …… 今传梵义 ,实宜径达。 (“信”和“达 ”均源于此。)是以自偈受译人口 ,因顺本旨 ,不加文饰。”
青 衣
钱钟书简介、主要作品和翻译思想
• 严复译《天演论》: “译事三难: 信、达、雅”。
• 严复先生曾指出：按照原文的义旨和风格进行翻译，这就 是“达”和“雅”，同时也是“信”。
“信、达、雅”的翻译标准对我国近代、
现代以至当代的翻译活动都产生了深远
青
的影响。
衣
钱钟书简介、主要作品和翻译思想
Hale Waihona Puke 但钱钟书先生认为，虽然支谦也提到了“信、达、雅”这三个 字，甚至严复明确地提出“信、达、雅”作为翻译的准则，但 他们并未深入研究三者的辨证关系。
青 衣
钱钟书简介、主要作品和翻译思想
“信达雅” 理论之渊源
• 中国翻译史，有文字记载， 始于周， 据《礼记·王 制》 记载: 五方之民， 言语不通， 嗜欲不同。达其志， 通其欲，东方曰寄，南方曰象，西方曰狄鞮，北方曰译。 周管翻译叫舌人。此后， 直至佛教传入前， 翻译并不 是广泛存在。佛经传入后，译者在“译” 字前加“翻” ，成为“翻译” 一词 ， 一直流传至今。
钱锺书的《围城》英译版
钱锺书的《围城》英译版《围城》是钱钟书所著的长篇小说。
通过主人公方鸿渐在欧洲留学回国后的人生经历，小说道出了“围在城里的人想逃出来，城外的人想冲进去。
对婚姻也罢，职业也罢，人生的愿望大都如此” 这一内涵。
接下来，小编给大家准备了钱锺书的《围城》英译版,欢迎大家参考与借鉴。
钱锺书的《围城》英译版1990年，由黄蜀芹执导，由陈道明、英达、吕丽萍、葛优主演的电视剧《围城》播出，堪称中国自改革开放以来不可多得的电视剧佳作之一。
我们一起看一看书中的人物鲍小姐。
可是苏小姐觉得鲍小姐赤身，伤害及中国国体。
Miss Su felt that Miss Pao’s exposed body constituted an insult to the body politic of the Chinese nation.赏析：译者明晓作者的幽默语气，并通过选词把这一幽默坚持到底。
译文的“constitute” 极妙，是一个正式的、会与制度相关的词语。
既和“国体”同属一个语域，也以这种正式的用语增加了戏谑的程度。
而两个“体”也以“body”的形式很好保留在译文里。
那些男学生看得心头起火，口角流水，背着鲍小姐说笑个不了。
When men students saw Miss Pao, they burned with lewd desire, and found some relief by endlessly cracking jokes behind her neck.赏析：钱钟书先生以一组对仗的四字词语“心头起火”和“口角流水”，营造了极强的画面感。
译本采用意译的方式，译出了大意。
有人叫她“熟食铺子”(Charcuterie)，因为只有熟食店会把那许多颜色暖热的肉公开陈列; 又有人叫她“真理”，因为据说“真理是赤裸裸的”。
Some called her a charcuterie- a shop selling cooked meats-because only such a shop would have so much warm-colored flesh on public display. Others ca lled her “Truth”, since it is said that “the truth is naked.”赏析：译文替换原文的括号，采用破折号“——”对词语进行解释。
钱锺书手稿集 外文笔记
谢谢观看
创作背景
创作背景
这些手稿由钱锺书夫人杨绛妥善保存至今，书写时间为二十世纪三十年代至九十年代。关于这些外文笔记， 钱锺书曾以为“没用了”。他自然不会想到，杨绛先生花费多年整理了这些笔记，而且2012年又请来通晓多种语 言的德国汉语学家莫芝宜佳和她的丈夫，二人先后三次来到北京查阅笔记手稿，回国后又借助络为编辑答疑解难。 经过4年的不懈努力，汉学家夫妇不仅将全部笔记按时间先后顺序重新编次，还为全书各集笔记撰写中、英、德三 种文字的序言，编订了详细的目录和文字。
钱锺书手稿集 外文笔记
2015年商务印书馆出版的图书
01 内容简介
03 作品鉴赏
目录
02 创作背景 04 作品影响
05 作品评价
07 作者简介
目录
06 出版信息
基本信息
《钱锺书手稿集·外文笔记》是由钱钟书创作的笔记。 全书约计页，共211个笔记本，涉及英语、法语、德语、意大利语、西班牙语、拉丁语、希腊语等七种西方 语言，囊括四千余种外文图书、期刊的笔记。第一辑于2014年4月出版；至2015年年底，六辑48册全部出齐。笔 记的出版，引起学术界、文化界的广泛。 该书获得第四届政府出版奖图书奖。
作品影响
作品影响
2013年1月，该图书入选2013年度国家出版基金资助项目。
作品评价
作品评价
中国社科院文学所所长陆建德：有些学者自认为在做很“专”的东西，并引以为豪，如今翻看钱先生的 《外文笔记》，他的“开放性”会让我们后辈“难为情”。钱先生的“开放性”一是表现为兴趣广泛的阅读，经 典作品、通俗小说、生僻文章均有涉及。二是他经常翻阅跟时代密切关联的书刊，比如TLS （《泰晤士报文学增 刊》），钱先生常读常记。陆建德发现，钱先生对TLS的阅读在1966年中断了，直到1972年才接上，中间有6年空 白，这是当时政治环境带来的无奈，“对于一个嗜书如命的人来说，该是多么心急如焚”。钱先生“开放性”的 第三个表现是，他打通了各国文化，发现了诸多共同点，可用来互相映照。
钱锺书、杨绛家里收藏了哪些外文书？
钱锺书、杨绛家里收藏了哪些外文书？杨绛先生过世当日，友人打电话来，问能否写点什么。
可惜得很，杨先生的学行、著作，我一无所知，愧无以应。
转天，在网络上看到一组杨绛先生家居的照片，前所未见。
照片显然是晚近拍摄的，尤其难得的是，相当清晰。
其中一张专门拍了书柜，引起我的兴趣。
当然，以往的照片中，钱、杨家的书柜也曾“偶露峥嵘”，约略看得出几种厚厚的书是什么，但像这回，能看得如此清楚的，却是头一遭。
钱锺书先生不喜欢藏书是出了名的，我想，读者对钱锺书、杨绛家里究竟保留了哪些书没有扔，或许还有兴趣也说不定，因此，就凭借这张照片来说一说。
书柜顶上一排，摆着三联书店的《钱锺书集》、商务印书馆的《钱锺书手稿集·容安馆札记》《钱锺书手稿集·中文笔记》，这些都是钱先生身后出版的。
前面相框里放的分别是钱锺书先生和钱瑗女士的照片。
书柜目前能看到两排，第二排仅露出上部一点点，只有一本关于诗人兰波（Rimbaud）的书能确定之外，其他的，如书脊上写着Visual或Art And……，书名太普通了，没猜出是哪两部书。
那么就谈书柜第一排好了。
这一排，无一例外，都是外文书，主要是英文的，也有几本法文的。
1.余国藩译《西游记》我们从左到右依次看来。
左边这一柜里，放的可能都是关于中国的。
开首的一溜四册，白色书脊，这是余国藩（Anthony C. Yu，1938-2015）先生翻译的《西游记》（The Journey to the West），芝加哥大学出版社出版，与网上的图片比较，网上的版本只有第四册是白色书脊。
不清楚钱先生的这一套是什么时间印的。
余国藩先生是有名的学者，芝加哥大学神学院教授，也在比较文学系、东亚系授课，他的《西游记》翻译、研究久负盛名。
1979年4月底，钱锺书先生曾随团到芝加哥大学访问。
不知是否在此时即与余国藩先生有了交往。
2.李克译《管子》再过来一本，看不清。
接着一本，书脊上印着Guanzi，很清楚。
钱钟书《窗》汉译英
钱钟书先生所著《窗》的经典汉译英语段
It is spring again and the window can be left open as often as one would like. As spring comes in through the windows, so people——unable to bear staying inside any longer——go outdoors. The spring outside, however, is much too cheap, for the sun shines on everything, and so does not seem as bright as that which shoots into the darkness of the house. Outside the sun-slothed breeze blows everywhere, but it is not so lively as that which stirs the gloominess inside the house.
• 同时，我们悟到，门和窗有不同的意义。 当然，门是造了让人出进的。但是，窗 子有时也可作为进出口用，譬如小偷或 小说里私约的情人就喜欢爬窗子。
钱钟书先生所著《窗》的经典汉译英语段
所以窗子和门的根本分别，决不仅是 有没有人进来出去。 In fact the fundamental difference between a door and a window has nothing to do with them being either entrances or exits.
钱钟书
——《窗》
钱钟书
钱钟书英语作文
钱钟书英语作文Qian Zhongshu, a prominent Chinese writer and scholar, is known for his insightful works that delve into various aspects of Chinese culture and literature. His contributions to Chinese literature are highly regarded both domestically and internationally. One of his notable works is "Fortress Besieged," a novel that satirizes the Chinese society of the time through a humorous and critical lens. This novel, first published in 1947, explores themes of education, marriage, social hierarchy, and personal aspirations in a rapidly changing China.In addition to his literary achievements, Qian Zhongshu was also a respected scholar of classical Chinese literature. His scholarly works include extensive research and commentary on ancient Chinese texts, particularly focusing on classical Chinese language and literature. Qian Zhongshu's academicwritings are characterized by their depth of analysis and meticulous attention to detail, contributing significantly to the understanding and interpretation of classical Chinese literature.Furthermore, Qian Zhongshu's essays and culturalcritiques provide valuable insights into Chinese intellectual history and cultural trends. His perspectives on traditional Chinese culture, modernity, and the challenges facing Chinese society have influenced generations of scholars and intellectuals. Through his writings, Qian Zhongshu continues to be a thought-provoking figure whose ideas resonate with contemporary discussions on Chinese identity, tradition, and modernity.Overall, Qian Zhongshu's legacy as a writer, scholar, and cultural critic endures through his profound contributions to Chinese literature and intellectual discourse. His works continue to be studied and appreciated for their literarymerit, intellectual depth, and critical engagement with Chinese society and culture.。
围城钱钟书 语录 英文
围城钱钟书语录英文1. "It's easier to destroy than to build, and it's easier to criticize than to create."（"毁灭比创造容易，批评比建设容易。
"）2. "When a society loses its moral compass, it becomes a community of scoundrels."（"当一个社会失去了道德指南，它就成了一群恶棍的社团。
"）3. "The true meaning of life is to find your own path and follow it, regardless of obstacles."（"人生的真正意义是找到自己的道路并追随它，无论面临什么障碍。
"）4. "The biggest prison that people can put themselves in is the prison of their own mind."（"人们自己给自己造成的最大的监狱是心灵的监狱。
"）5. "The road to success is lined with many obstacles, but the only true obstacle we face is ourselves."（"通向成功的道路上有很多障碍，但我们真正面临的障碍只有自己。
"）6. "A society that fails to invest in education is a society that is doomed to failure."（"一个不投资于教育的社会注定会失败。
围城钱钟书 语录 英文
围城钱钟书语录英文
【实用版】
目录
1.钱钟书的《围城》及其英文版简介
2.钱钟书在《围城》中的经典语录
3.英文版《围城》对原作的传达及影响
正文
钱钟书的小说《围城》是一部中国现代文学的经典之作，它讲述了一群知识分子在抗日战争时期所经历的生活、感情和抉择。
这部小说以其独特的讽刺手法和深刻的人文关怀，赢得了广大读者的喜爱。
近年来，《围城》也被翻译成英文，使其影响力扩展到了英语世界。
在《围城》中，钱钟书运用了他独特的语言艺术，创造了许多经典的语录。
比如，“婚姻是建立在一具尸体之上的一座独立宣言”，“大学里，
一切聪明人都是学中文的，一切笨人都是学英文的”，等等。
这些语录不
仅在小说中起到了画龙点睛的作用，也在一定程度上反映了钱钟书对人性、社会和人生的深刻洞察。
英文版的《围城》是由美国汉学家 Jonathan Spence 翻译的，他在
翻译过程中尽可能地保留了原作的语言风格和文化内涵。
英文版的《围城》在英语世界中受到了广泛的关注和好评，许多西方读者通过这部小说了解了中国的历史和社会，也对钱钟书的文学才华表示赞赏。
总的来说，无论是中文版的《围城》，还是英文版的《围城》，都是一部值得我们认真阅读和思考的文学作品。
第1页共1页。
钱钟书英文简介
Fortress Besieged
• Fortress Besieged is about work of spirit of the human being. The novel describe marriage on the surface, in fact, it describe about the life. It is an outstanding full-length satire in the Chinese history of literature. This thesis ventures to analyze trait and connotation of Fortress Besieged from two aspects: inside and outside of the novel.
• I am named for a lifetime " money ", is also the superstition of money? 我都姓了一辈子“钱”了，难 道还迷信钱吗？ • Thought is a soundless language. 思想是不出声的语言。
character
During the Cultural Revolution, Qian was appointed to be a janitor. Having no access to books, he had to read his reading notes.
2.Be ourselves, don’t care too much about fame and profit 3 read more books
• 1932: in tsinghua university before GuYueTang came across Yang jang,his wife. • 1935: was admitted to Oxford University • 1937: went to Paris university doing research with Yang jang . Daughter was born . • 1938-1984: finished all of his works
《钱钟书英文文集》 注释
《钱钟书英文文集》注释
（原创版）
目录
1.钱钟书的英文文集概述
2.钱钟书的学术成就与英文文集的关系
3.英文文集的出版意义和对钱钟书研究的影响
4.注释的详细内容和价值
正文
《钱钟书英文文集》是我国著名学者钱钟书的一部英文论文集，汇集了他在学术研究领域的重要成果。
钱钟书，原名钱钟韩，字静安，是我国著名的作家、文学研究家，其著作包括《围城》、《管锥编》等，被誉为现代汉语文学的经典之作。
他的学术成就斐然，涉及文学、哲学、史学等多个领域，英文文集则是他在学术界的英文论文的汇编，体现了他在国际学术交流中的影响力。
英文文集的出版，对于研究钱钟书的学术思想和成果具有重要意义。
这不仅可以让读者更好地了解钱钟书在各个领域的研究成果，也为学者们提供了宝贵的研究资料。
同时，英文文集的出版，也进一步证明了钱钟书作为我国杰出的学者，在国际学术界的地位和影响力。
而《钱钟书英文文集》的注释，则是对钱钟书的学术研究的深入解读，对于理解钱钟书的学术思想和成果具有重要的参考价值。
注释详细地解释了论文中的难点和重点，同时也对论文的背景和相关内容进行了补充，为读者提供了全面的学术参考。
总的来说，注释是《钱钟书英文文集》的重要组成部分，对于理解钱钟书的学术研究具有重要的帮助。
第1页共1页。
24年读书书单
24年读书书单以下是一份24年的读书书单，每年读10本书。
第一年：1. 《围城》 - 钱钟书2. 《1984》 - 乔治·奥威尔3. 《人类简史》 - 尤瓦尔·赫拉利4. 《活着》 - 余华5. 《简爱》 - 夏洛蒂·勃朗特6. 《百年孤独》 - 加西亚·马尔克斯7. 《西方哲学史》 - 罗素8. 《追风筝的人》 - 卡勒德·胡赛尼9. 《白夜行》 - 东野圭吾10. 《时间简史》 - 史蒂芬·霍金第二年：1. 《1984》 - 乔治·奥威尔2. 《围城》 - 钱钟书3. 《人类简史》 - 尤瓦尔·赫拉利4. 《追风筝的人》 - 卡勒德·胡赛尼5. 《活着》 - 余华6. 《简爱》 - 夏洛蒂·勃朗特7. 《百年孤独》 - 加西亚·马尔克斯8. 《西方哲学史》 - 罗素9. 《白夜行》 - 东野圭吾10. 《时间简史》 - 史蒂芬·霍金第三年：1. 《活着》 - 余华2. 《白夜行》 - 东野圭吾3. 《围城》 - 钱钟书4. 《追风筝的人》 - 卡勒德·胡赛尼5. 《1984》 - 乔治·奥威尔6. 《人类简史》 - 尤瓦尔·赫拉利7. 《简爱》 - 夏洛蒂·勃朗特8. 《百年孤独》 - 加西亚·马尔克斯9. 《西方哲学史》 - 罗素10. 《时间简史》 - 史蒂芬·霍金以此类推，每年的书单可以根据个人兴趣和阅读需求进行调整。
这个书单包含了一些经典的文学作品、哲学、历史和科学类书籍，帮助你拓宽视野、提升思考能力。
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钱钟书的英文书单推荐
1.儿子与情人
《儿子与情人》[英]戴维·赫伯特·劳伦斯禁毁原因：恋母
这是性爱小说之父劳伦斯的第一部长篇小说。
1961年美国俄克拉荷马发起了禁书运动，在租用的一辆被称之为“淫秽书籍曝光车”所展示的不宜阅读的书籍中，《儿子与情人》被列在首当其冲的位置。
2、洛丽塔
《洛丽塔》[美]弗拉基米尔·纳博科夫禁毁原因：恋童癖
纳博科夫的扛鼎之作，为他赢得了世界声誉。
此书在美国尽人皆知，是把它当做一本“黄书”来读的。
从1955到1982年间，此书先后在法国、英国、阿根廷、南非等国家遭禁。
（洛丽塔很耳熟有没有！！原来是首歌！给上虾米地址虾小米打碟中……）
3.情欲之网
《情欲之网》[美]享利·米勒禁毁原因：原始的性爱方式
享利·米勒的力作，被认为是卢梭以来最优秀的忏悔作品之一。
米勒试图以原始的性爱方式，寻回人在现代文明社会中失去的自由。
这部作品一出版即在美国等许多国家遭到封杀。
4.查太莱夫人的情人英戴。
赫。
劳伦斯
5.金瓶梅传奇郭戈
6.恋爱中的女人
7.娜娜－左拉
8.女人十日谈
9.生命中不能承受之轻
《生命中不能承受之轻》[捷克]米兰·昆德拉禁毁原因：性描写
这是使昆德拉赢得世界声誉的代表作。
作品描写了主人公既渴望女人又害怕女人，性成了他生活的全部内容。
因作品中涉及大量性描写而遭禁。
10.失乐园日渡边淳。